E II I
An Interview with Robert Sabuda, Part 1
Staten Island, N.Y.
Robert Sabuda, winner of the first Movable Book
Society Meggendorfer Prix for outstanding contribution
in the field of paper engineering, is a young artist whose
career path has traced a bright and influential trajectory
in his field. He is known internationally for the intricacy
and beauty of his pop-ups, his great eye for color, and
his ability to incorporate time through movement into his
work. In person, he is very modest, very supportive of
others in the field, and absolutely dedicated to what he
is doing. It was a pleasure to be granted the time to do
this interview in his New York City studio. In Part I of
this interview, Sabuda describes his boyhood, influences,
and the path that led to his phenomenal success as
author of tlhe tremendously popular Christmas
Alphabet. In Part 2, he will discuss his work methods, his
professional life and future plans.
BV-Can you fill us in a little bit about your boyhood?
Was there any indication then of what your future path
would be? Were there any influences, role models,
RS- I grew up in a small town in rural Michigan.
Pinkney, Michigan. I was always an artist, always drew
and sketched. I wasn't a very good painter. My mother
was a secretary for Ford Motor Company and we didn't
have very much money. She would always bring home
Ford Motor Company stationary for me, and sometimes
she would bring home manilla folders that had been used
for something else-and at that time you couldn't get card
stock-there just was no such thing-so that was great and
I made my first pop-ups from those manilla folders.
In school the teachers always asked me to do bulletin
boards, which was fun. I used lots of cut paper and got a
very good introduction to paper that way. In high school
my teacher told me- in this little town in rural Michigan
she said to me "You should go to Pratt". (Pratt Institute-a
well known art school in Brooklyn). She took me by the
hand and guided me through all four years of high school
showing me what it would take to live the life of an
artist. And so I applied to Pratt. That was the only school
I applied to. And after graduation I came to Pratt. My
senior year of Pratt I did an internship at Dial Books for
Young Readers and I really learned about publishing in
BV-Just general things or specific things?
RS-Well, I didn't know that pictures and words could go
together. I hadn't understood the idea of a book that
well.. I saw some amazing original art work for books
there for the first time and that influenced me
tremendously. At the age of twenty-two you're supposed
to decide what the heck you want to do-and so I thought
"I could do this. I could make this happen." I was always
interested in graphic design, graphic imagery. Pop-Ups
are very concrete. They either work or they don't. So I
finished my senior year at Pratt and geared everything
towards book illustration. After that it took me ten years,
ten long years (to become established in this field).
BV-How did you earn a living during those years?
RS-Lots of freelance graphic work on the side, and 1 took
all the illustration work I could get. Right after I got out
of college I illustrated coloring books to make money. (I
can't believe I'm telling you this!)
BV-That's a hot tip. That's very interesting.
RS-Even though it was coloring books I began to learn
more about publishing. Things I didn't know about
distribution and what it meant when something was mass
The Movable Book Society
Movable Stationery is the quarterly publication of The
Movable Book Society. Letters and articles from
members on relevant subjects are welcome. The annual
membership fee for The Society is $15.00. For more
information contact Ann Montanaro, The Movable Book
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Daytime telephone: 732-445-5896
Evening telephone: 732-247-6071
The deadline for the next issue is November 15.
RS-Well a friend of mine from Dial became an editor at
Putnam and gave me my first manuscript to illustrate. So
that was my first childrens' trade book. And then the
process began to snowball. One book led to another and
BV-These were flat books?
RS-Yes. Picture books.
BV-Were your illustrations similar to what you would do
RS-Actually I started out as a print-maker-a linoleum
block printer-so my original book illustrations were
linoleum block prints.
BV-Were they black and white, or just a few colors?
market. I hadn't heard that term before.
BV-What were some of the elements of publishing that
you learned that the average person on the street
wouldn't necessarily know?
RS-Well when 1 was young at home we could never
afford hard cover books. We could afford paper backs,
which was fine as long as they were books. 1 only
discovered later that those paper backs were considered
mass-market books. The hard-covered trade books cost
more. The coloring books sold for one dollar. So they
were mass market.
BV-ls the marketing for those two kinds of books
RS-Actually some of them were pretty involved-up to
fifteen blocks for one illustration.
BV-So that was very intricate.
BV-This is very interesting because I think that's an
element of your persona, that you have the capacity to
really plan something-to really get into it.
RS-Yes. To really make it work. I really did a lot of that
in printing because everything has to align. And you
have to do that with pop-ups because everything has to
work. That thing isn't going to spin around by
happenstance. It doesn't just happen.
RS-I don't know. I guess it depends on the publishing
house. I think it is because big stores like Barnes and
Noble have more interest in trade books, while the local
pharmacy is more interested in mass market books.
They're not able to sell a book for twenty dollars.
BV-And are the financial returns on those two kinds of
books the same, because you'd sell more mass market
RS-That's a good question. I think places like the
pharmacies don't order as many books as Barnes and
BV-What happened next in your career after the coloring
BV-But doesn't the process have a lot of trial and error
BV-Because I usually envision planning as being over
there and trial and error being over here.
RS-That could be but often the trial and error can lead to
steps of progression that you wouldn't have realized in
BV-Oh. You mean you can't just be intuitive? You have
to be analytical.
Continued on page 8
(This article is a translation of Franchi's book Apriti
libro! Meccanismi, figure, tridimensional^ in libri
animati dal XVI at XX secola. Edisioni Essegi, pp. 45-
In 1886 Casa Editrice Hoepli of Milan introduced
Sempre allegri bambini, one of Lothar Meggendorfer's
mechanical books. In 1871 Ulrico Hoepli had purchased
T. Leangner's bookstore and publishing company. That
same year a single
MriulnKmi, figure, tridimenswnalita
in libri dnimtlti dal XVI at XX sctciu
published - the
first stage in
the growth of a
this day. In the
publish children's books with high quality illustrations.
Between 1880 and 1890, ten movable books were
published. Graphically, these books are analogous to the
original language editions from which they were
translated. The texts are either adapted or rewritten. An
examination of the mechanicals for some of these
editions reveals that the lithographic designs and the
numbering of the parts are in the original language. It is
therefore likely that the books were printed and
assembled abroad and only them imported. The truly
remarkable popularity of these books forced the publisher
to produce several editions of some of the titles.
In the thirties, Hoepli repeated the success of its first
children's books with the "theater book." This
masterpiece of the publisher's art, published in 1938, is
without a doubt one of the most beautiful movable books.
Designed by the great set designer Mario Zampini and
illustrated by Raimondo Centurione, the result is a
panorama book that opens in the round. It tells a tale that
can be viewed on four planes, divided into six stage sets.
The little booklet that accompanies the book even
indicates how the volume should be lighted in order to
see the pictures at their best.
During this same period, a variety of other printers
also produced editions of movable books, always basing
them on translations.
In 1900 in Turin, Rosenberg & Sellier, a publishing
company founded in 1883 that specialized in scientific
works, published / veri scophtori del Polo Nord (The
true discoverers of the North Pole) - an ironic adventure
story of two young explorers, complete with drunken
bears and dirigibles. Editrice Treves, founded in 1861,
published Giornale die Franciulli (The Children's
Newspaper), a magazine edited by "Cordelia" (Virginia
Tedeschi-Treves). Advertisements for Gioppini appeared
in the pages of this magazine. Gioppini is a small theater
book about the title character, a commedia dell'arte
figure from Bergamo. The puppets are inserted into a
magnificent stage setting. Paper rods move the figures to
go along with the short rhymes of the text.
Milan's Vallardi published movable books with
stories derived from classic fairy tales. These books are
"Magic Pictures" in which movable strips of paper are
used. When set into motion, the strip allow the subject
of the story to be changed in the blink of an eye.
Fior dell' Aurora (Dawn Flower) is a beautiful
example of a panoramic little theater. It consists of a
single picture that unfolds across two pages with text at
the bottom of the pages. It tells the story of Sleeping
«Ei» .-* yzs^m ■* />■- ... . * Beauty. Vallardi also
1 VQUSGOtfRlTORl wem on t0 produce
* i M+Jsklfl ^^ %jT many color picture
jdJ^OjOjlORl) books and alphabet
I for high quality
Among the publishers
who, like Hoepli,
devoted themselves to
books, the Florentine
is worthy of special
mention: initially, as
a printer for others, then as an editor for Deposito
Edizioni, and later as a publisher on his own. The
discovery of a group of documents has enabled scholars
to reconstruct the history of several valuable movable
books produced entirely in Italy. In a letter of January
1931 to the publisher Bemporad, the printer Lorenzo
Franceschini presents proposal for making movable
picture books, and in particular, for the printing of a new
abridged edition of Collodi's Pinocchio, a title which was
already in Bemporad's catalog of movable books. An
agreement to make this edition was never reached.
Franceschini went on to publish a few picture books
under the Desposito Edizioni imprint with the general
title "Le fiabe Piu Belle" (The Most Beautiful Fairy
Tales). The illustrations were entrusted to the painter
Ezio Anichini. Four titles were slated for publication:
Cinderella, Little Red Riding Hood, Puss in Boots, and
Beauty and the Beast. A 1938 advertisement indicates
that Tom Thumb was to be
added to the list. In 1943,
Lorenzo's son Renato was
finally able to carry out his
father's project: an edition
of Pinocchio with movable
plates and high quality
graphics. This edition drew on
many sectors of the publishing
industry. The colophon attests
to the variety of firms involved
in this one great publishing
enterprise. In 1942 no fewer
than eight operations (printers,
binders, etc.) worked with
Franceschini to produce this magnificent edition. The
publisher entrusted the painter Attilio Musiani with the
job of carrying out the project. Following suggestions
provided by the printer, Musiani contributed new
illustrations to serve as the basis for creating the movable
plates. Distribution of the first edition was by Marzocco
publishing house. On the last page of the cover the
publisher's statement reads: "Edition conceived, printed,
and constructed under the careful supervision of the
Author, proprietor: Cav. Renato Franceschini, Viale Italo
Balbo 5 - Florence (all rights reserved)." The book was
so successful that a letter of July 1 943 to the publisher
Giunti-Marzocco announced its fifth edition (42 nd
thousand). The eight movable plates accompany an
abridged version of Collodi's original text. Green line
drawings were also interspersed throughout the text.
Franceschini's plans for an on-going project of books
with movable plates became a reality with the creation of
several series. Picture books with three movable plates in
"Large Format with Gold on the Cover": so reads
information found in an editorial document. "Gold on the
cover" was to become the distinctive feature of Edizioni
Franceschini books published from 1942, the very year in
which their Pinocchio was published, until the
publishing house closed its doors.
The Garden is Open
Nancy E. Oates
Chapel Hill, NC
Fifty-five years ago when Bernice Wade, then a young
bride, moved to Chapel Hill from Arizona, she bought a
barren plot of land near the university and hired a local
man and his mule to plow it. That first year she planted
everything in the Burpee catalog - everything she
couldn't grow in Arizona.
Year's later, after her husband's death, Wade's twin
sister, Barbara Styles, moved into the mother-in-law
apartment attached to the house and set her hand to the
wheelbarrow. She never looked back.
Two years ago when illustrator Pamela Pease moved
to Chapel Hill from California, she started taking daily
walks through his historic Gimghoul neighborhood, past
the garden of the 80-ish twins. She watched it change
through the seasons, from brown to green, to the first
shoots of yellow from the tulips and pink blush of azalea
buds. So taken was she with the story of the twins'
garden that she captured it in a picture book, complete
with a pop-up garden that blooms among the pages and
a packet of seeds from the sisters' garden tucked in the
"The garden is the center of the neighborhood," Pease
says. "People stop by, chat and help out a bit. I tried to
visually portray the feeling of living around the garden."
Pease might have remained just one more admirer of
the garden had it not been for a requirement of her
master's degree in illustration from Syracuse University
that she create a 32-page picture book. The bright colors
and simple shapes that characterize Pease's style as an
illustrator seem custom-made to translate the brilliance
of a garden in bloom to the pages of a book.
"It's a picture book for people of any age, for
gardeners and for people who admire gardens, " she says.
"I started with idea of the illustrations and a rough idea
of how the text would go. I didn't know how the ladies'
story unfolded til I sat down and talked with them."
The sisters' story is the stuff of fairy tales. Their father,
a gardener from Nova Scotia, ended up in a mining town
in Arizona, where, undeterred by the climate, he planted
a honeysuckle vine. The twins watered it with the
dishwater they threw out each day, and it climbed to the
top of their chimney, three stories high. In the spring, the
fragrance of the honeysuckle drew the whole town to
their house, and they held a celebration that became an
Then Wade's marriage took her to the wilds of Chapel
Hill. "When I got off the plane and saw all the
honeysuckle here, I was in seventh heaven," Wade
recalls. "I didn't know then what a pest it would be."
Like everyone in the early 1940s, Wade planted a
Victory Garden, though her gardening expertise had not
grown much beyond watering the honeysuckle. The
garden failed, so she hired the man and his mule to plow
it under. Unbeknownst to her, the stunted vegetables and
the mule droppings added nutrients the soil needed.
When she planted flowers the following year, everything
grew. She arranged and rearranged the plants like an
impressionist painter until she was pleased with the
"We'd just get all the plants settled, and I'd move
them to get the colors right," she says.
By the time Styles moved in. Wade had learned about
raised beds and other gardening techniques. Styles' love
of animals added another dimension to the garden with
the addition of feeders and cob holders for the birds and
The twins garnered a well-deserved reputation as
horticulture experts. Neighbors stopped by for advice and
to admire the flora. They usually returned home with a
few cuttings or a handful of seeds for their gardens along
with advice from the sisters. The twins revived the
tradition their father started decades ago of inviting the
community for a celebration when the garden is at its
The prospect of turning that story into a book was the
challenge for Pease. She painted the illustrations for the
book in oil on clayboard, which dries faster than canvas
and is easier to scan into her computer's page layout
program. Then she began work on the text. Because she
had little writing experience, she took her text to the
Society of Children's Book Writers and Illustrators
conference to have it critiqued by a professional.
"I thought the text would be easy," she says. "The
book is mostly illustrations with a few words per page,
but it was difficult trying to say what you want in very
few words and have it flow."
Pease had the graphic design capabilities and a
computer with a large-format printer, so turning her
master's degree project into the basis for a publishing
company - Paintbox Press - was easier for her than it
might be for most. She was familiar with the
manufacturing process, because she ran a swimwear
design and manufacturing business in Los Angeles before
moving to Chapel Hill, and she had read some books on
self-publishing. For this year's garden party, she printed
a sample of 50 books - no small commitment, given that
each books takes two hours to print, then it is sent to a
The book was so well-received at the garden party that,
within a week, Pease had orders for 100 more. A
representative from Barnes & Noble in Durham came
calling, as did Quail Ridge Books in Raleigh. She is now
collecting price quotes from printers in hopes of ridding
the book of its "limited edition" status.
THE GARDEN IS OPEN
"It's only limited by the number of hours I have in the
day to catch the pages as they come out of the computer,"
The book's title The garden is open, comes from the
discreet wooden sign the sisters post on their front lawn
whenever they feel the garden is ready for visitors.
Every week hundreds of admirers wander through the
garden paths to enjoy the waves of azaleas guarded by
phalanxes of tulips, blue phlox, columbine and Russian
forget-me-nots. Blue and red anemones form a welcome
mat in front of the dogwoods and magnolia trees. A lady
Claire camellia reaches all the way up to the second story
"We spend as much time as we can working in the
garden," says Wade, wearing a shirt with goldfinches
and thistles painted on it. "Every bright day."
"Sometimes we stop to pay bills," Styles notes.
"We mow and make cuttings, but we don't
wheelbarrow anymore," Wade says.
"We do the potting under the desk," Styles says. "It's
not pretty to watch."
"It's been 55 years in the making," Wade says. "Every
year it is prettier and bigger," Styles says.
Wade and Styles were flattered when Pease
approached them last year with the idea of doing a book
about their garden. They, too, are pleased with its
"It's a charming book. The colors are so beautiful,
and it's poetic," Wade says.
"When people come to visit, we make them read it out
loud," Styles adds.
Reprinted with permission from The News &
Observer, April 24, 1999.
och Rorliga figurer
That exotic title in Swedish is the title of the chapter
on books with "three dimensional scenes and movable
figures" in a recent book written by the Nestor of
bibliography and history of children's books in Sweden,
Professor Gote Klingberg. In this book, Den tidiga
barnboken i Sverige. Litterdara stromningar, Marknad,
Bildproduktion (The historical children's book in
Sweden. Literary trends, market, production of pictures)
Mr. Klingberg describes the early, nineteenth century
history of pop-up and movable books in Sweden; to our
knowledge the first record of this.
In the chapter describing the international trade in
children's picture books he writes about "imported
picturebooks with deviating design" as there are books
with changeable pictures, three-dimensional books,
leporello books, linen books, shaped books and books
with uncommon bindings published in Sweden in
(mostly the last 25 years of) the 1 9 th century.
Though we didn't know too much about the history of
Swedish pop-up and movable books in general, it was
very interesting to read about the international
circulations of so many titles we know as highlights in
the history of novelty and movable books, almost all
originating from either England or Germany. While we
traditionally think of international co-productions of
children's picture books as a phenomenon which
developed after the Second World War, Mr. Klingberg
shows convincingly how European printers and
publishers marketed their products worldwide from the
1860's onward. Illustrating this for the Swedish market
he challenges the writing of the international history of
movable books to show how the European makers
marketed their productions in countless languages all
over the world - using their own imprints or using
existing publishing houses in the various countries.
Packaging is not an invention of our times.
Since we don't think too many members of The
Movable Book Society are able to read the book in
Swedish, we here will review the most interesting
sections of the books, adding to the Swedish titles the
more well-known titles from the original English and
German editions of the mentioned books, and
(sometimes) filling in information gaps for Mr.
In the chapter on books with changeable pictures
Mr. Klingberg distinguishes nine categories:
* Paper doll books
* Books with double-sided printed flaps at three
sides of the pages
* Books with pictures on pages of various widths
* Heads, bodies and legs
* Books with a hole in the place of the head
* Books with pictures with an underlaying variant
* Venetian blind books
* Books with transparencies
* Books with cut-out pictures
Paper doll books (Mr. Klingberg calls them "books
with inserts") are generally known from the series done
by S. & J. Fuller in London in the 1 8 10*s. It is less well
known that at the same time such books were produced
in Vienna, too, by the firm of Heinrich Friedrich Miiller,
in a slightly different way. At least two of the titles of the
Viennese production were published in Swedish editions
by J.F. Walter, Stockholm, in 1825: August fovandlingar
(reprinted in 1831 as Den unga August) and Isabellas
forvandlingar, being translations of the original Austrian
titles August Venvandlungen in which the (nude) boy
August, pictured in copper engraving on a small card,
can be clothed by overlaying cut-out pictures in six
different ways, changing from a soldier to a troubadour
with harpsichord, etc. In Isbellens Venvandlungen, the
girl Isabelle can be clothed as a nun, a farm girl, in a ball
dress, etc. The two books are also known in German,
French and Dutch editions.
Books with double-sided printed flaps at three
sides of the page, that can be unfolded and give
successively "further" stages of the pictured events. As an
example is given Skdde-albumfor snalla barn, published
in 1876 by Huldberg in Stockholm with two picture
pages folding out to 52 x 32 cm. and showing,
respectively, a children's ball and a circus scene. Using
the six pictures on the three flaps and folding them out or
laying them just to overlap the base picture (they always
mix up), the picture can be changed in many different
Though Mr. Klingberg couldn't trace the foreign
version, the book is reminiscent of a French original and
was probably printed by Emrik & Binger from Haarlem
in the Netherlands. We could not find any French book
with this technique but did find an English book showing
this same technique of folding flaps on three sides of the
two picture pages: The magic picture book, London,
A.N. Myers & Co., n.d. (but published in 1875), with
plates of the "Zoological Gardens" and "Pauline, or the
little housekeeper" and printed indeed by Emrik &
Binger. Continued on page 1 1
Arizona - Annual Exhibit
The 3 rd Conference of
The Movable Book Society
will be held
New York City
in conjunction with the exhibition
"Brooklyn Pops Up" and
New York is Book Country
Current Book Exhibitions
Germany - Meggendorfer
The extraordinarily comprehensive Meggendorfer-
Collection of the Norddeutsches Spielzeugmuseum
(North German Toy Museum) with more than a hundred
objects is presented to the public for the first time.
Besides a diversity of printed matters there are also some
of Meggendorfer's original hand drawings to be seen in
the exhibition. Thanks to a personal lender, the rare
revolving pictures, which Meggendorfer developed about
1 895 for the Wilhelm Loos publishing corporation, are a
special point of attraction in the museum. Some of them
were not issued and were samples for the publisher! The
last comparable Meggendorfer exhibition took place
about nineteen years ago. (The Christmas exhibition of
1980 in the Munich Town Museum included items
loaned from New Yorker Justin Schiller's Meggendorfer
Archive, which was sold by auction in 1982 at Sotheby's
A special highlight is an enlarged reproduction
showing a compartment of a train with four revolving
disks to be turned by the visitors. The visitors can learn
about the principle of movables while looking at reprints
and playing with them. The exhibition can be visited til
end of October at Norddeutsches Spielzeugmuseum,
Poststr. 7, 29614 Soltau. It is open from 10 am to 18 pm
(last entry: 17 pm). Tel.: 05191-82182 or -2620.
The 12 th Annual Pop-up and Movable Book Exhibit
will be held at the University of Arizona in Tucson. The
exhibit can be seen from Wednesday, December 1 , 1 999
through Friday, January 28, 2000 at the University Main
Library. It will be housed in Special Collection Lobby
and the main and third floor. For the opening date only,
David Carter will speak informally and sign his books
from 9:00 a.m. until 1 1 :00 a.m. An exhibit of books and
pop-up advertising that Mr. Carter has worked to create
will be found in the exhibit cases in the Special
Collections lobby. The books to be signed need to be
purchased before the opening because the library does not
sell books and only a very limited number of pop-up and
movable books are sold at the University Book Store.
New books published during the past year will be
exhibited in the cases in the Main Library building.
This exhibit is free and open to the general public. A
catalog will be available for those attending the exhibit
at no charge.
The Library and Special Collections hours can be
obtained by calling 520-621-6441 or 520-621-7440.
Spain - A Century of Pop-ups
Quim Corominas is the curator of an exhibition of
pop-up books being held in Cirona, Catalunya, Spain
from December 17, 1999 through January 15, 2000.
Between 250 and 300 books will be exhibited. A catalog,
"Pop-up, llibres movibles i tridimensionals," is sponsored
by Fundacio Caixa de Girona, Centre Cultural de Caixa
For more information contact Quim at
New Jersey - Artist's Books
The Gallery of South Orange, New Jersey is celebrating
the book arts with a major exhibition entitled "Beyond
the fold: Artist's books from traditional to cutting edge."
The exhibition, co-curated by Ed Hutchins, opens on
September 12 and continues through October 31, 1999.
In addition to the exhibition there are workshops
including paper making, letterpress printing, book
making, gocco printmaking, and pop-up structures as
well as lectures and performances. For more information
call the South Orange Department of Recreation and
Cultural Affairs at 973-378-7754.
Sabuda interview, continued from page 2.
RS-That's right. Now I can be intuitive. Now I can
mentally visualize something working.
BV-Because you've built up a visual 3-d vocabulary.
RS-I love precision when 1 make collage papers and wet
the paper and splash color on it 1 love the freedom of
that, but then I have to make something precise out of it.
Not all my work is like that though. Some of it is very
BV-I think that the precision is intriguing to people. So-
going back to the progression of your career- what
happened after the linoleum prints? What came next?
RS-I started to work more in paper and discovered my
love of paper-which I'd always had but hadn't had the
opportunity to explore... doing paper mosaic illustrations,
2-d cut paper things which led in a natural progression
to pop-ups, adding an element of dimension and of time
BV-Are you totally self-taught as a paper-engineer?
RS-Completely. I looked at other peoples books to figure
out the hows and whys of it-and I'm happy to be part of
that. You do variations on a theme by so-and-so and they
do the same.
BV-I saw an exhibition a few years ago that showed how
the Impressionists borrowed from each other. So it's
nothing new. Someone would start a theme and someone
else would pick it up and do a variation on it.
RS-Yes. In the last year I've noticed some of my
mechanisms appearing in the books of others. So it's
come full circle. It's an interesting feeling. They're doing
what I did.
BV-When you made your first pop-up book was it very
intentional that you wanted to do a pop-up?
RS-Well it was in 1994 and it was Christmas Alphabet.
BX-Christmas Alphabet! That was your first pop-up
book? You must be kidding!
RS-No I'm not.
BV-So you've been doing this for only five years. That's
extraordinary isn't it!
RS-I don't know.
BV-Who published it?
RS-Orchard Books. I think it's a division of Grolier.
BV-So tell me the story of Christmas Alphabet.
RS-I knew I wanted to do a Christmas book. Being from
Michigan the winters there are so white and beautiful.
Everyone said if you want to do a Christmas book it will
really have to be unusual because there are so many of
them each year. At that time I was working on package
design. I was doing a lot of that at the time-for products-
just to pay the bills-and I was looking through a catalog
and I saw a picture of a very graphic white dove against
a very bright background. And I thought "I love that!
Wouldn't it be great if I could do a Christmas book like
that, very shapey and simple." Up until that time
everything that I had done had been very illustrative and
involved looking. And I thought "Wouldn't it be nice to
go in a totally different direction with this book." And I
wanted to make a pop-up book. But I didn't know how,
so I had to go out and teach myself the basics. What a
huge undertaking. Why did I have to pick a project where
I'd be making twenty-six pop-ups? It was an artistic
challenge and I love challenges. Even if I fail I'd rather
give myself the challenge and say I failed. Sometimes it's
exhausting but I'd be bored if I didn't have artistic
challenges in my life. I originally took it to Dial Books
For Young Readers, and they just didn't feel they could
handle it. So I took it to a packager. "White Heat" and
they sold it to Orchard Books. Because I didn't have any
production understanding about what I'd have to do to
make this happen., and they did.
BV-If you take something to a packager do you get a
much lower percentage remuneration?
RS-Yes. Less then one half of what you'd get if you went
to a publisher. Christmas Alphabet is still out there. It
was a learning experience, a stepping stone to other
experiences, and that's what life is.
BV-Did you give "White Heat" a full dummy" (a full 3-d
mock-up of the book)
RS-I gave "White Heat" a partial dummy. I think it was
only eight pop-ups.
BV-And so it was taken on that basis?
RS-It was. They loved it and said "We'll find someone to
BV-What was the timing on all this?
RS-Dial got it in 1992 and had it for a year before they
said "No". It came out in 1994, one year after I gave it to
BV-Do you think authors should have a moratorium on
how long a dummy stays with a publisher before a
decision is made?
RS-I think publishers should be able to give a definite
yes or no within six months as a courtesy, including
pricing and so forth. I also believe multiple submissions
are all right as long as the publisher knows from the
beginning that you're making multiple submissions. I'd
make three dummies.
BV-How many spreads? (Open double pages)
RS-At least three spreads, one in color.
BV-Can the publisher figure out manufacturing costs on
the basis of just a few spreads?
RS-I think a good manufacturer should be able to.
BV-So once Christmas Alphabet came out, it's like "the
rest is history".
RS-Like a wave.
BV-But you love it. Don't you?
RS-I love being my own boss, but 1 don't like the
deadlines-and having to live up to one's own reputation
in terms of sales and so on and the expectations of others
can be stressful.
BV-How did you know Cookie Count would sell?
RS-I knew it wouldn't be the kind of financial reward
that a holiday book would-that has that built in, so I had
to be willing to live with that, and the publisher did too.
Also, I have to be able to do the kind of books I want to
BV-Right. So there's still that tension that has to be
BV-Yes. Because publishers would like nothing better
than to have me do a Christmas book every year but I
don't feel I can do that-or want to do that.
Update from New Zealand
In Volume 7, number 1 Charles Duke described the
difficulty of being a collector in New Zealand. On June
10, 1999 he reported this update.
I write this e-mail so that it can be seen that my faith
in the human kind has again been rewarded.
On the 21 st of April, 1998 (now note the 1998) I
ordered a book called Black cat, white cat: A pop-up
book of opposites (the paper engineer and author is
Chuck Murphy, ISBN 068981415 1). Books.com, with its
usual excellent and prompt service, shipped the said book
on the 19 th of May, 1998, just as soon as it was published.
Now by mid-August I became a little concerned at the
non-arrival of the aforementioned book (one could take
the position that I was a tad impatient after only 13
weeks, but so be it) and thus contacted Books.com.
Whereupon they, within 24 hours, dispatched another
copy, via air mail, at their expense. An excellent,
excellent response. The second book arrived in 8 days
and all was well with the world.
It is now the 2 nd of June 1999 (now note the 1999, the
current year!), a package arrived from Books.com. One
I was not expecting, but one that on opening contained,
to my surprise, a pristine copy of Black cat, white cat\
On careful examination of the package the following
sequence of events was discernible:
* posted in the USA on 19 th May 1998
* arrived in Boroko, Papua New Guinea sometime
in December 1998
* Arrived in Darwin, Australia sometime in
* Arrives in New Zealand, at the correct address
and in perfect condition on 2 nd June 1999.
After almost 13 months it made a perfect landing! Is
not life highly entertaining? My thanks to Books.com for
their service and patience with us folks from "down
Part 2 of this interview will appear in the December
1 ft - Awful
2 ft - Poor
3 ft - OK
4 ft - Good
5 ft - Superb
^A^ Chuck Murphy's Bow Wow. Little Simon.
fljij\ 0-689-82265-0. $12.95 US, $19.25 Can.
■«^»" 17x1 7cm. 10 pages. 10 pops, 1 pull tab. Art:
Simple yet sophisticated computer art. Plot: Learning
about different shapes with the help of our canine
friends. Understated and gorgeous. A delightful gem.
Paper Eng: Somewhat complex.
The elements of pop-up. By David A.
Carter and James Diaz. Little Simon. 0-689-
82224-3. $34.95.US. 22x32cm. 9 spreads. 1
large pop, 30 small pops, 8 pull-tabs, 4 wheels, 2
flaps. Art: White, graphic pops against brightly
colored backgrounds. Plot: Why do pop-ups "pop-
up?" All questions are answered here. Beautifully
designed and executed. Subtitled "A pop-up book for
aspiring paper engineers" but it's also for other fans
(collectors, architects and even mathematicians) who
wonder how movement and the third dimension work
together. Includes a brief history of pop-ups and how
they are designed. Paper Eng: Simple to complex.
Good night. By Jan Pienkowski. Candle-
wick Press. 0-7636-0763-0. $14.99 US,
$20.99 Can. 17x28cm. 5 pops, 4 tab/flap
mechs, 1 wheel. Art: Confusing computer art. Plot:
All the reasons you fear going to bed at night.
Interesting idea but it doesn't really work. Is it
supposed to be cute or scary? Paper Eng: Simple to
r The Hobbit. By J.R.R. Tolkien. Ill: John
1 ** ~ Howe. Paper Eng: Andrew Baron. Harper-
Festival. 0-694-01436-2. $19.95 US, $28.50
Can. 20x27cm. 5 spreads. 5 multi-piece pops, 4
tab/flap mechs, 4 pullout side panels with text. Art:
Realistic watercolor. Plot: The famous, fantastical
world of wizards, elves and dragons appear for the
first time (I think) in pop-up form. The illustrations
are good and the pop-ups are good but for some
reason they don't really fit together all that well.
Perhaps the fact that it's such a dark, murky tale
makes the task that much more formidable (but what
a beautiful front cover!). Paper Eng: Complex.
Jack - it's a sunny day. By Rebecca Elgar.
Paper Eng: Paul Wilgress. Kingfisher. 0-
7534-5209-x. $10.95 US. 20x20cm. 7
spreads. 6 pull tabs, 6 flaps. Art: Humorous, brightly
colored watercolor. Plot: Jack the dog finds lots of
things to keep him occupied on a sunny day. Simple
and cute for very young readers. Paper Eng: Simple.
Also: Jack - it's a rainy day.
Max. By Ken Wilson-Max. Paper Eng:
David Bennett Books. Hyperion. 0-7868-
0412-2. $12.95 US, $17.95 Can. 20x22cm.
6 spreads. 4 tab/flap mechs, 1 wheel, 5 flaps. Art:
Brushy, brightly colored paintings. Plot: Meet Max
and his two animal housemates. A delightful romp
for young readers (especially the wiggling Jell-O).
Beautiful, simple art. A great introduction to
diversity for young readers since Max is the first
continuing character in a series that's black. Paper
The pop-up book of phobias. By Gary
Greenberg. Ill: Balvis Rubess. Paper Eng:
Matthew Reinhart. William Morrow and Co.
0-688-17195-8. $24.95 US, $34.95Can. 22x28. 12
spreads. 10 pops. Art: Slightly surreal airbrush. Plot:
Your favorite phobias packaged to look like an
encyclopedia. Surprisingly adult content with a bit of
wicked, dark humor. Give it to your favorite neurotic.
Paper Eng: Complex.
Robert Crowther's most amazing hide-
and-seek numbers book. Candlewick
Press. 0-7636-0809-2. $14.99 US, $20.99
Can. 27x20cm 6 spreads. 20 tab/flap mechs. 16 flaps.
Art: Humorous watercolor. Plot: Every creature
imaginable helps you count from one to 100. Lots of
little things for busy hands to do. Cute, but a little
rushed looking. Paper Eng: Very simple.
Snappy little numbers. By Kate Lee &
Caroline Repchuk. Ill: Derek Matthews.
Paper Eng: Richard Hawke. The Millbrook
Press. 0-7613-0437-1. $12.95 US. 22x27cm. 10
spreads. 10 pops. Art: Humorous, brightly colored
computer art. Plot: 10 different animals playfully
show how (and what) they eat. Fun concept and nice
artwork. For young readers. Paper Eng: Simple.
Let's play. Text: Debbie MacKinnon.
Photos: Anthea Sieveking. Paper Eng: Ania
Mochlinska. Little, Brown. 0-316-64897-3.
$7.95 US, $10.95 Can. 18x22cm. 8 pgs. 5 pull tabs, 2
flaps. Art: Realistic photos. Plot: Different play
activities that child engage in. Well designed and
simple. Many diverse children represented. For very
young readers. Paper Eng: Simple.
Continued from page 6.
It does not appear to be the original version of the
Swedish book, but it seems obvious Meyers & Co. also
did a book with the two mentioned changing pictures.
Books with pictures on pages of various
width. He means by this those books in which a base
plate is covered by picture pages that diminish and grow
in page width but always mix up with the earlier and
coming pages, and that "tell" the story by turning the
pages. Given here as an example are Lustig panorama-
bok 1. Patra Trogelins underbara reseqfventyr berattade
af en barman, Stockholm, Huldberg, 1878 and Lustig
panoramabok 2. Hvad mamma berattade om qvdllarne
for siner barn, same publisher, 1 879, both with pictures
printed by Emrik & Binger. Though not mentioned by
Klingberg, we recognized in them as two parts of the
"Changing Panoramic Toy Book" series by Dean & Son
from London: The Diverting history of Johnny Gilpin
and What mother told her children at night, advertised as
"fifteen feet of oil colour pictures forming nine grand
tableaux." The English edition was printed at Emrik &
Binger's, as was the Dutch version of this series of four
Heads, bodies and legs, or as Mr. Klingberg describes
them: books with pages printed on both sides and cut
horizontally as to give different pictures by turning the
(parts of) the page. Three early titles in Sweden were
published from 1 876 to 1 879 by Huldberg in Stockholm,
all three with pictures printed again by Emrik & Binger:
500 Lustigafbrvandlingar ( 1 876), Mjolnare-Pelles Katt
(1878) and Den lila Rodppan (1879). Here again Mr.
Klingberg doesn't mention the Dutch and Spanish
versions; and edited in New York by Dutton as "Surprise
Toy Books." Their original titles: Surprising comical
characters with transforming pictures capable of over
five hundred metamorphoses, New Puss in Boots and
Little Red Riding Hood.
Books with a hole in the place of the head, the head
being printed on the inside of the back cover and visible
through all the pages. The example is Gubben med
skdpet (no publisher information, but also by Huldberg in
Stockholm, 1 877) that has a person pictured with a head
on the verso of the first page and one on the recto of the
last page; the pages inbetween are printed with persons
on both sides and have the hole instead of their faces.
Once more, here was an original Dean title, from the
same series of "Dean's Surprise Picture Books" now the
title Dame Wonder 's changing characters and Peep show
picture books, also printed by Emrik & Binger as were
the Dutch and Spanish editions.
Books with pictures with an underlaying variant
Every picture here has a half-page flap pictured both
sides and pasted on in the middle of the picture in such
a way that you see one picture when the flap lays down,
and another one when you lift the flap and turn it down
on the upper half of the first picture. Given are two books
printed at Hochdanz in Stuttgart, Germany: Den
makalosa Bilderboken eller de underbara
forvandlingarne (1873) and De underbara
forwandlingarne. Ny bilderbok (1 876) both published by
Oscar Lamm, Stockholm. They both have the same
movable technique as we know from Walter Wonder-
ment 's wonderful treble changes by Dean & Son, but the
Swedish books originate from Germany where the titles
are known as Das wunderbare Bilderbuch and Neues
Verwandlungs-Bilderbuch published with the
illustrations of Wilhelm von Breitschwert by Julius
Hoffman in Stuttgart and are also known in French
Venetian blinds books, better known as dissolving
pictures in which each picture is made up of a series of
slats, a second series being operated by a tab to slide over
the first and thus to form a contrasting picture. It is seen
in Ndjsamm forvandlings-bilder, 1877, at Huldberg,
Stockholm. It is the Swedish version of Dean & Son's
revised edition of New book of dissolving views, first
published in 1 860, now printed by Emrik & Binger and
therefore also known in a Dutch version.
Book with transparencies. This is exemplified by
Stockholm's Albert Bonnier's 1880's title Transparenter
forvandlings-taflor till sex af de vackraste qfventyrfor
barn och ungdom. Effectively this is a portfolio with a
textbook of six fairytales by Grimm, Bechstein and Franz
Hoffmann, and six loose pictures in passepartouts. The
pictures are underlayed by another picture that becomes
visible when held to the light: so called "Phantasmagoric
Plates." Here the original German edition is Transparent
Theodor von Pichler and published in 1879 by Gustav
Weise in Stuttgart.
Books with cut-out pictures, here restricted to books
in which the pictures have to be completed by cut-outs
from especially added pages. It is illustrated with three
titles published in the series of "Ledsakbocker for sma
barn" in 1873 by Albert Bonnier Stockholm. The titles
are: Huset som vi bo uti, Barnkammerens leksaker and
Yrkenas bok, being three of Warne's "Picture Puzzle Toy
Books" published in 1 869-70 in England as The house
we live in. The nursery play-book and The book of
trades, with chromoligraphs by Kronheim.
Mr. Klingberg continues with a short paragraph on
books with three-dimensional scenes and movable figures
- from which we borrowed the title of this article. Here he
lists some Swedish editions of books with pictures that
fold out, pop up, have to be set up or folded down; some
of them being combined with tab-operated movable parts.
He first describes the 1883 book by Oscar Lamm in
Stockholm published in a Swedish edition, Stort
menageri, originally published in Germany in 1882 at
Schreiber in Esslingen as Grosse menagerie, a book in
which six illustrations of wild animals in their native
habitats lift up to reveal them as zoo animals in their
rectangular 3-D cages. An English edition appeared in
1 884 under the Schreiber imprint as The great menagerie
and most will know the books from its 1979 reprint. Less
known will be that this book also appeared as a leporello
making it possible to show the six cages standing one
beside the other; and it was published also, as this
Swedish edition is described, with the loose pages in a
portfolio, giving the opportunity to place the fold-out
cages in any desired order.
A year later, in 1 884, Lamm brought another three-
dimensional Schreiber book in Sweden: Isabella Braun's
Allranyaste teater-bilderbok med rorliga figurer,
originally published in 1883 as Allerneuestes
theaterbilderbush but also published in American and
French versions at the same time. The book shows four
folding theatrical grotto-effects in which some parts are
made movable by tabs. It is now mostly known by the
1981 reprint as The little actor's theater published by
Two other theater books with movable figures were
published earlier by Lamm: Stor utomordentlig Kasper-
teater med manga lefvande kolorerade gubbar. I. herr
Kasper och nans upptdg i staden ochpd lander being the
1866 Swedish version of Schreiber 's grosses
puppentheater (1864) with six tab-operated Punch and
Judy scenes illustrated by Carl Haeberlin. And about
1876 the Ny Kasper-teater, printed in Germany and
published in London about the same time by Dean & Son
as Royal Moveable Punch and Judy.
A final variation of picture books with movable figures
is represented by four books originating from Dean &
Son and published in Swedish versions in 1891-92 at
Enval & Kull in Stockholm: Gfverrasknings-bilderbok,
En badresas nojen, En utflykt till landet and Histbrien
om en gammal sockertunna. We recognized the
wonderful "Dean's Surprise Model Series" published in
the same years and showing four beautiful books in
which the pictures lift from the pages by the use of
strings fastened to the opposite pages. This rather unique
technique, to our knowledge used only for this four book
series, enabled rounding forms for the first time (for
examples a rounding lighthouse). The original titles of
the series, known also in a French edition, are: Surprise
model picture book, Seaside fun, A visit to the country,
and The tale of an old sugar tub.
Mr. Klingberg finishes this section of his book with
paragraphs on Swedish editions of panoroma books
(concertinas/leporellos) from foreign origin. There were
three Meggendorfer titles published by Oscar Lamm,
Stockholm including / cirkus (1886), the well-known
International Circus - but maybe better placed in the
former chapter of books with three-dimensional scenes -
and Fran barnkammeren ( 1 888), known in Germany as
Der Viehmarkt. He also includes the five title series of
"'Dean's Cardboard Panorama Toy Books," published in
1 890, and other originally German and Dean panoramas.
Finally there is a paragraph on linen picture books,
shaped books and books with a variant binding; for this
last category listing the 1891 Swedish editions of the
"Dean's Pantomime Series" of shaped theatrical books
opening from their midsts: Askungen, Robinson Crusoe,
Lila Rodkappan and Skonheten och odjuret (Cinderella,
Robinson Crusoe, Little Red Riding Hood, and Bella and
the Bear), known also in French, Dutch and American
Eleven of the most significant books from the various
categories are pictured in full color in a special picture
section of the book.
As said already, we think Mr. Klingberg did a good job
in this systematic study of the production of Swedish
novelty and movable books that originated and/or were
printed abroad, though it made us very curious to read
about original Swedish productions. By restricting
himself to the international aspects of the subject, he
initiated the study of the still unwritten history of the
international production and exchange of these
children's books from the 19 th century seen from a
comparative point of view; to trace the forerunners from
long ago to Intervisual, Carvajal, Tien Wah Press and all
those others that work together to enlarge our collections.
Gote Klingberg, Den tidiga barnboken i Sverige.
Litterara stromningar, marknad bildproduktion.
Stockholm, Natur och Kultur, 1998. 240, XVI pp. ISBN:
In the News
«/ Movable Book Society member Annie Tremmel
Wilcox is the author of A degree of mastery: A journey
through book arts apprenticeship (New Rivers Press, 0-
8982-31884-4 $27.95). The memoir describes her
apprenticeship in bookbinding and conservation at the
Center for the Book at the University of Iowa. The text is
richly descriptive with both technical jargon and personal
insight. As she learns her craft she details the construction
of books and the layers of the book structure needing
repair and describes how the book is taken apart, washed
(when needed), and reconstructed. Her tools are carefully
chosen or manufactured to fill every need.
To quote the Kirkus reviews "Book lovers will love
Since the title says explicitly the book was translated
or adapted after the English, and was written by the
author of Lina, the book that was the Dutch adaptation of
Rose Merton, the little orphan, published as Dean 's new
dress book in 1860, it seems reasonable to think there
has to be an English original.
The forty-page history in prose tells the story of the
boy and girl named in the title who were orphaned at an
early age and have to live in poverty but stay honest
children. Growing up the boy Rudolph has the chance to
go to the colonies in the Far East (here to the East Indies)
where he succeeds in making his fortune. Back at home
he is able to live in great style, together with his re-found
There are four hand-colored full-page illustrations
with mounted fabrics and the fourth one with a movable
part - Rudolph and Susanna driving horses.
■<f Intervisual Books has signed a multi-year
agreement with Los Angles, California-based PorchLight
Entertainment to create, produce and distribute interactive
books based on the popular children's television series,
Jay Jay the Jet Plane.
Does anybody recognize the English version of the
book? Maybe it is a Dean title as Rose Merton was. We
would be very grateful to receive information about it.
Terms of the agreement call for the first books to be
exhibited at the Frankfurt International Book Fair in
October. The books will hit the United States retail market
in Spring 2000 and will include the hide-and-peek books,
pop-up playsets, and other interactive, high-end formats.
?/ A new museum recently opened in Germany, a
special J.F. Schreiber Museum, the publishing house that
brought not only Meggendorfer movables but also other
pop-ups, movables, and picture books for almost 200
years. The address is:
J.F. Schreiber Museum
73728 Esslingen am Neckar, Germany
Telephone: 0711-3512 or 3240
Questions and Answers
Q. Studying the history of the Dutch movable books I
recently came across a so-called "Dress book" in which
the dresses of the characters on the pictures are formed
from applied pieces of fabric. Its title reads: Rudolf en
Susanna, ofBeloond ouderliefde. Door den schrijver van
het kleedingboek Lina of het vermiste kind. Naar het
Englesch. (Rudolph and Susanna, or repaid parental love.
By the author of the Dress book Lina or the missing child.
After the English.) Published in 1862.
Q. I am seeking a copy of a miniature handmade book
by Maryline Poole Adams entitled The peepshow Alice.
I would very much appreciate being contacted by anyone
who might know of a copy of this book being offered for
Q. As far as I am concerned "pop-up book" hides an
enormous amount of other "special" books. Books with
flaps, pockets, cut-outs, sound, mechanical paper devices,
pop-ups, interactive elements, etc., etc. So often I'm
asked to give a lecture about my work and I always
include a bit of history on pop-ups from the invention of
the printing machine right up to now and show slides of
old and new books that, in my opinion, were landmarks
in our industry. Just to give a few examples:
1 . Pinocchio/Blue Ribbon
2. Nister/ Wonderland pictures
4. Bookano books
5. Many mice of Mr. Brice/ Random House
6. Haunted house/]an Pierikowski
7. National Geographic series (Jim Diaz, John
8. Human body (Vic Duppa- White, David
9. Star books (Purnell)
10. Christmas items, greeting cards, toy
If anyone feels I'm missing something that is a
milestone and has a good picture (or slide) of it, please
contact me. There are certain areas or periods I have little
or no knowledge about.
I once saw a book printed around 1 540 and the subject
was races/tribes around the world. The left page had some
blurb about a tribe and the right page had a pocket with a
cut-out character of that race and in the back was a
"globe" of the world with segments (like an orange) held
together in the middle. The top and bottom ends had
string attached to them, all going through beads at the top
and bottom so that, when the string was pulled the
"segments" formed a globe. Unfortunately I have no
pictures or title.
Another famous book I've seen (again no picture or title
in my possession) is a medical book with flaps unraveling
the human body. This is one from the 1 6 th century as well.
Another famous one I've seen is a book by the German
astrologer, Apian us, on astrology. (There are three copies
left in the world, the Met in New York and the British
Museum among them.) The early "printed books" still had
a hand-made mentality about them, understandably.
Does anyone have some more information from that
period? Then, as far as I'm concerned, there is an
enormous gap up to the 1 850's.
I am interested in receiving information about the
following things: How the invention of the postage stamp
helped the rise of the postcard and the 3D greeting cards?
(Victoria and Albert Museum collection). How the
mechanical toy industry in Nuremberg, Germany
encouraged Meggendorfer in his work? Who was the first
person to make a 3D scene or pop-up? It must have been
before 1870 because I have a Christmas card with a 3D
scene from that date.
If anyone has any information I might be interested in,
please contact me.
Ron van der Meer
Garden Cottage/ 18 Ditton Park Rd.
Datchet SL3 7JB England
Q. For the preparation of an article on the Schreibers
stehairf bilderbiicher and the Schreibers stehauf-
mdrchenbucher as published in Germany in the 1930's
until the 1950's, I would like to have more information
about the English and Italian editions of these pop-up
books. The books measure 15.5 x 24 cm., their text
(mostly) printed parallel to the spine, have four pop-up
scenes (cut and fanfolded) on heavy board, rather simple
but nicely illustrated with a remarkable use of
I know at least one English edition: Hallo the
railroad! Schreiber Plastical Picture Book, no place, no
date but about 1950. Who knows or owns other titles
from the series? Maybe there is somewhere on the books
a listing of other titles or an advertisement for the series?
An Italian translation was published during wartime
(?) by Casa Editrice Mediterranea in Rome as Album
Mediterranea and/or Mediterranea-Album rilievo. I
know from a no. 1 Nello zoo and a no. 4 Buon wiaggio.
Is there anybody amongst the readers of MS who can
give me more information? I know about the South
African and the Spanish editions of these books, but does
anybody know about editions in other languages?
Q. Are there any collectors who would open their homes
by appointment to members to see their collections?
Salt Lake City, Utah
A. Several people have visited my home to see my
collection and I would welcome others. I have also had
the opportunity to see several other private collections
and enjoyed meeting the collectors and seeing unique
books in their collections.
East Brunswick, N.J.
Q. 1 would like to find out where I could locate a
complete list of all pop-up publications of Blue Ribbon
Press (as well as Pleasure Books, Inc.), all of which were
published, I believe, in the 1930's. I have noticed that
some of the early Mickey Mouse pop-ups were published
by Blue Ribbon Press, but some were published by other
publishers in other languages and other countries, but
using the Blue Ribbon format. Was there a connection?
Would there be a list of these foreign Mickey Mouse pop-
ups as well?
Q. In 12 plus years of collecting pop-ups I have never
come across a pop-up book made of fabric (a cloth book).
I recently obtained Pop-up zoo friends, Checkerboard
Press, 1989. ISBN 0026891883. It has two pop-ups of a
monkey and a giraffe. Does anyone know of others?
A. In response to a question raised by Francis Gagliardi
regarding record albums with pop-ups. there is also an LP
record album of the Swedish pop group from the 1970's
ABBA that has a pop-up scene in its covers. And, a nice
Christmas scene pops up in the album of German singer
Heino: Deutsche Weihnacht . . . und festliche Lieder on
the lable EIM-Electrola, nr. C064-29539, with the pop-up
cover design from Atelier Patelli.
Q. In a recently acquired catalog of old children's toys,
published in 1 895. We found under number 4864 the offer
Tab-operated Picturebooks by Meggendorfer, in
ca. 8 different titles, are the funniest movable
picturebooks that exist; full of humour and
pleasantry, with fitting verses, fetching
movements and lasting mechanics, Mark 5.00 a
piece, new small edition Mark 2.50.
jointly-produced catalog sold
interested, please let me know.
at cost. If you are
We agreed with the bragging text of the
recommendation but wonder about its last part: who has
ever heard of or even seen copies of Meggendorfer books
in a "small edition," so small that they cost only half the
price of their "normal" edition?
Please contact us if you have any information.
How do members sell their unwanted pop-ups?
Q. Would members be interested in having a way to sell
books to one another? Does anyone have an idea of how
that might be done? Some ideas which have been
suggested are: a password-restricted web site, a list in the
newsletter of people who have lists of books for sale, a
Books of the Ages. Catalogue 2 1 . Gary J. Overmann.
Maple Ridge Manor. 4764 Silverwood Dr., Batavia, Ohio
45103. Phone: 513-732-3456.
Page Books. Catalog 11. 117 Danville Pike, Hillsboro,
OH 45133. Phone: 937-840-0991. email@example.com
Jo Ann Reisler, Ltd. Catalogue 48. 360 Glyndon St., NE,
Vienna VA. Phone:703-938-2967. Fax: 703-938-9057.
Unicorn Books. Catalogue 90. 56 Rowlands Ave., Hatch
End, Pinner, HA5 4BP, England. Phone:0 1 8 1 -420- 1 09 1 .
Fax: 0181-428-0125. http://www.unicornbooks.co.uk.
The following titles have been identified from pre-
publication publicity, publisher's catalogs, or advertising.
All titles include pop-ups unless otherwise identified.
All the world's a stage: A pop-up biography of William
Shakespeare. By Michael Bender. Chronicle. September.
8% x 8'/ 2 . 20 pages. $14.95. 0-81 18-1 147-6.
The amazing pop-up music book. [Includes a working
keyboard as well as pop-ups.] By Kate Petty and Jennie
Maizels. September. Dutton Children's Books. 9x12.14
pages. $22.99. 0-525-46160-4.
Animal noises: On the farm, [simple pop-ups] TODTRI
Book Publishers. SVi x 5Vi 10 pages. $2.98.
Also: In the country. 1-57717-0982-9. In the jungle.
1-57717-097-0. My pets. 1-57717-099-7.
The art of science. By Jay Young. [A pop-up book about
how science has influenced artists.] October.
Candlewick. 0-7636-0754-1. $27.99.
Ask Babaloui: A fortune-telling activity kit. By Dale
Gottlief and Jane Burns. August. Chronicle. IVi x l l A
inches. $14.95. 0-8118-2495-0.
Beauty Mouse and the Beast. By Keith Moseley. Van der
Meer Books. (Distributed by Abbeville.) $8.95.
Also: Cindy Mouse. Robinson Mouse. Snow Mouse and
the seven moles.
Bertie bones. By Tim Wood. [Pop-up in coffin lid.] 12
pages. 5x8 inches. 12 pages. $4.95.
Also: Gussie ghost. 0-7641-5166-5.
The Bible made easy: A pop-up, pull-out, interactive
Bible adventure. By Alan and Linda Parry. Thomas
Nelson. 9 x 12 inches. 24 pages. $16.99.
Busy preschool: An interactive book with pull-tabs. By Jo
Lodge. $9.99. Dial.
Captain Calamity 's big mistake. Playmobil Books. 7 Vi x
8 inches. 10 pages. $7.99. Reader's Digest Children's
A Christmas carousel, [also an advent calendar] By
Franceses Crespi. October. Chronicle. 8 x 9 3 /4 inches. 5
three-dimensional spreads. $12.95. 0-81 18-2614-7.
Christmas playset: With wind-up train, pop-up scene,
sound chip, light, and punch-out characters. By Paul
Stictland. September. $24.95. Piggy Toes Press.
The Civil War: A new view, in close-up 3-D. (Four
scenes.) By Mark Frey. Running Press. $19.95.
Colors pop-up fun. By James Diaz. September. Piggy Toes
Press. $7.95. 1-58L1-7067-X.
Also: Counting pop-up fun. 1-5811-7068-8.
Curious George 's pop-up storybook house. September.
Houghton Mifflin. $20.00. 0-3959-7908-0.
DK amazing pop-up pull-out 3D timescape. By Richard
Piatt and Stephen Biesty. September. 10 x 13 3 /4 inches. 8
77k? elements of pop-up. By David Carter and James Diaz.
October. Little Simon. $34.95. 0-6898-2224-3.
Follow the dump truck Tonka pop-up board books.
October. Scholastic/Cartwheel Books. 414 x 4V4 inches.
6 pop-ups. $4.50. 0-439-08287-0.
Also: Follow the fire truck 0-439-08287-0.
Follow the tow truck. 0-439-08287-0.
Follow the tractor. 0-439-08287-0.
Hanukkah! By Sarah Freedland and Sue Clark.
Candlewick. October. $18.99. 0-7636-0890-4.
Heroes of space: A three-dimensional tribute to 40 years
of space exploration. Intervisual Books. 12x12 inches.
8 pages. $29.95. 1-58117-054-8.
Laura the pet vet: Fisher-Price little people pop-up
playbooks. 414 x 414 inches. 12 pages. Readers Digest.
Also: Who will play with kitty? 1-5758-4199-5.
Let's play, [tabs and lift-the-flaps] Little, Brown. 9x7
inches. $7.95. 0-3166-4897-3.
Also: My day. 0-3166-4898-1.
Little snail 's big surprise. By Carla Dijs. Child's Play.
Monet's house at Giverny: A pop-up carousel. July,
1999. 32 pages. Universe Pub. 0-7893-0268-3.
The movable Mother Goose. By Robert Sabuda.
September. Little Simon. $19.95. 0-6898-1192-6.
Limited edition: $100.00. 0-6898-3149-8.
The pop-up book of phobias. Gary Greenberg, editor.
November. William Morrow. $24.95.
Roxie and Bo together. Candlewick Press. 8 x 814 inches.
20 pages. $12.99. 0-7636-0879-x.
Runaway kitten. By Carla Dijs. Childs Play. 16 pages. 8
x 714 inches. $8.99. 0-8595-3669-6.
The secret fairy party book. By Penny Dann. September.
Orchard Picture Books. 6x8 inches. 16 pages. $14.95.
Snappy little bugs. By Claire Nielson. Millbrook Press.
Also: Snappy little farmyard. 0-7613-1278-1. Snappy
Truck jam: A monster truck pop-up. By Paul Stickland.
September. Dutton. $15.99.
Wild animals pop-up. By Rod Campbell. WJ Fantasy.